RUSSIAN FORMALISM - with it modern theory begins, II decade of 20^th century (there is no exact theory/ science of literature)

This sort of science doesn’t exist, they wanted to establish some rules, but they didn’t know how to define literature.

• To create lit. studies, we must know what the lit. is

• Literackość literariness

• Uniezwyklenie, udziwnienie - Defamiliarization

• Enstrangement - Brecht created it

Szkołwski - wszystko zostało już opisane dawniej, cały czas piszę się o tych samych rzeczach tylko w inny sposób.

Uniezwyklenie - zmiana perspektywy - the street rose up to meet with me.

Zwykła codzienna rzecz opisana z innej perspektywy.

Formaliści twierdzili, że to, że nie możemy określić sztuki, to nasza ułomność.

Approach was prescriptive.

Russian formalism changed it to the descriptive approach (how it happens) no longer preoccupied what to do, but how to do (description)

Literary studies: no rules, principles what to do, they wanted to create proper science/exact science [Humanities and science] 1910s

Two schools of formalism

1. More literary oriented - St. Petersburg - OPOIAZ (1916)

2. Moscow group - more linguistic one - Moscow Linguistic Circle

1. (OPOIAZ) Victor Shkolvsky, Vladimir Propp, Borys Eichenbaum, Yuri Tyrianov

2. (Moscow Group) Roman Jakobson, Boris Tomashevsky

Their goal - looking for literariness (what is art, what is not, how to measure it) They used LINGUISTICS to establish the rules of what should be analyzed from the point of view of FUNCTIONS.

Symbolism - XIX/XX cen. That’s rubbish. No symbols are needed to apprehend art.

DEFAMILIARIZATION - no new things, themes, subjects. Writing about the same things but in a different way, in a different fresh perspective.

POETRY - the best way to find out the literariness.

Thanks to poetry we start to notice source. Wyczuwalny język, Fonetyczne, syntaktyczne formy - he took his hat and his leave.

Składnia staje się widoczna. Docera do nas forma

The form is noticeable:

Rubber sole -> rubber soul *

Sea-sickness -> (titanic) see-sickeness *

*- DEFAMILIARIZATION

• They paid too much attention to the form

• Every change of form leads to the change of content. Change of perspective. The form is more important than the concept.

• The art brakes the automatism of perception (The point of formalism), it makes you stop for a while, think in a different way

• The slower, the better

ANALYSES: 1) logical 2) pragmatical 3) functional

Jakobson wrote a famous essay “Linguistics and poetics” he wrote version of “Poetyka w świetle językoznawstwa” (1960 - published)

Whatever you say, hear, read has a PURPOSE. Functional

ADDRESSER MESSAGE ADDRESSEE
SENDER ---------------------->CONTACT----------------------->(RECIEVER)
ENCODER CODE (DECODER)
(EMOTIVE FUNCTION) CONTEXT [CONATIVE FUNCTION]

CONTEXT - REFERENTIAL FUNCTION - the exchange of information, the code and context must be shared

ADDRESSER - EMOTIVE FUNCTION - emotions are shown, sometimes it’s expressed by grammar (P. Continuous instead of P. Simple)

ADDRESSEE - CONATIVE FUNCTION - orders, requests (e.g. - commercials - referential, conative, emotional; politics - conative)

CONTACT - PHATIC FUNCTION - the utterance is centered on contact entirely. (“hello” while talking on the phone -> physical function)

Phatic function is the 1^st function mastered by human beings. (Drawing attention - establishing the contact)

JĘZYK PODTRZYMUJE KONTAKT, MAINTAINING THE CONTACT (we’ve said animals, we have to stay in touch with other People)

Conative, phatic functions are domineering ones in a language.

Elderly people - phatic function (they need the contact)

CODE - METALINGUAL FUNCTION (to talk about language)

The ability of using metalingual -> whether u mastered the language or not (foreign) although you don’t remember a particular word, you can describe it in another way.

MESSAGE - POETIC FUNCTION (!) - 2 operations are performed when we talk: We Select and combine.

1. Selection (the axis of selection - oś wyboru - you can choose amobg the words

2. Combination (the axis of combination - when you combine words)

In the axis of selection elements are equivalent.

In the axis of combination elements are NOT equivalent

“I like Ike” - the clause is written in such a way to put the equivalents in the axis of combination (phonetically, syntactically - also can be combined.)

In everyday language it can’t be done, in poetic language it’s possible.

Poetic function combines as many elements as possible on the axis of combination.

FUNKCJA POETYCKA - projekcja zasad z osi wyboru na oś kombinacji.

He gives us the definition of literariness In poety.

Funkcja poetycka uwalnia się jak na osi kombinacji pojawia się jak najwięcej ekwiwalentów. In poetry poetical function is to dominate, if conative - NOT POETRY.

• Zaklęcia (?) - conative function (influencing the reality)

The length of the vowel does matter.

Szkłowski “Art as Technique” - the article with the ideas ofliterariness, defamiliarization, etc.

The art brakes the automatization of perception, bu also concept of the familiarization.

VLADIMIR PROPP “MORPHOLOGY OF THE FLOKTALE”

Formalists wanted to analyse, he took 100 folk tales and it turned out they had one structure, theme.

The departure from plot; chain of events; the cause & effect principle (logical chronolological representation).

1. Wyjście, absentation - leaving home, children, animals in danger, death, going out shopping. The main theme is that sb else, not the one who left, is exposed to danger

   During the analysis you have to forget about your own experience, you have to tak different perspective.

2. Ostrzeżenie - intradiction always broken

It is so easy for us to predict the plot because it is so conventional.

Even if some functions are dropped, the order is always the same.

Only tragedy gives more or less ealistic perception. It is neither black or white.

The magic agent - ethically …

Propp was not interested in surface structure.

STRUCTURALISM Ferdinand de Saussure “Course in general linguistics”, students published it, from their notes of his lectures.

Key Ideas:

• Language and speech (langue vs parole), people speaking different accent, but we would recognize their utterances as a sentence, get the meaning. You would never mistake a cat for a dog. There must be a set of rules, patterns, that allows us to recognize the sentence.

Deep structure: Language is a set of abstract rules, patterns to understand and utterances. Speech - What we actually hear - Surface structure.

Deep structure: set of abstract features, rules. Surface is what we actually see, touch, hear;.

Synchronic : at the particular moment in time

Diachronic: historical development

Semiotics - a branch of knowledge that study signs.

(linguistic) SIGN

Signify - to give sth a meaning

There is no natural, logical connection between signifier and signified. The link is completely arbitrary. I all depends on some agreement.

Object referent. Krasnoludek There is sound, concept, but no referent (Only if krasnoludki don’t exist)

Signs which have no referent. (kwadratura koła) For language to exist, the referent is unnecessary.

How did concept appeared ? Where does meaning come from ? If there is no link between sound and reality, language, doesn’t need reality to exist because meaning originated in language. Język jest samowystarczalny.

!! Language <---------------------------------> Extralinguistic reality (!! No natural link)

Measuring the effect of the process within language. Everything that happens in language is the result of processes within language, not processes outside language.

It’s all the matter of difference. Meaning is the result of difference.

High - low, hot - cold If there is no high, what would low mean ? ow becomes meaningless.

Meaning is the result of play of signs.

If there is no high, low, there is no medium.

“cat” means cat because it refers to other signs in the language.

Meaning is relational - results of relation

Literature is also a closed system. The point of studying literature is not to study reality, but the author or contemporaries of this author.

Coś może być impulsem, ale efekt zależy od samego autora, nie rzeczywistości.

„Structural analisis of narrative” - Tzvetan Todorov about decameron.

Linking parts: moral/ social rules broken, misbehavior.

X violates the law Y must punish X X tries to avoid punishment Y violates law Y believes X is not violating law Y does not punish X

What is studied is the inside of the story, not historical background, time.

Psychoanalysis: certain processes in the story what processes are in the mind of the author, link between the story’s inside and outside. But with structuralism important is only what is going INSIDE the story. We are not going outside the literature. It does not matter who X is, what law he breaks, etc. To understand the text we don’t need any info about the author, place, year etc. We study the structure, which is unhistorical/ahistorical, universal. Structure is not context specific. X and Y are proper nouns, they serve as subjects or object (dopełnienie). Predicates are always verbs. Quality of the story - adjectives. Todorov sees the story in the grammatical sense. Analysis of the story is like the analysis of the sentence. Relations in the story.

Books, lit., form of a system. In deep structure, every book is linked to another. Lit. is not a series of books, but a system. It’s autonomous. Everything what happens in the system is not influenced by the author reality, but by shifts within the system. Reason may be the motif, but won’t explain why the artist drew his picture like that. He was influenced by art itself and other painters.

Meaning of the story - for structuralists it is the structure. The set of relations between the elements.

RULES

1. The method is analytical, not evaluative, it doesn’t matter if it’s great art, lit. or not.

2. It rejects what is obvious, but looks for deep structure which is not apparent at first.

3. Elements are replaceable (like lego pieces)

One village in Indonesia, On in Amazonia - the structure would be the same We have hardwired perception of reality, surroundings, the world around us. Individualism is the source of meaning structuralism is opposing this idea.

Meaning is collective, not individual, not the creation of an individual mind. What an individual can do is to take the structure and present it In another way.

Klocki lego - zastaliśmy je, wyprodukował je ktoś inny, możemy je poprzestawiać, ale możemy zrobić z nimi tylko to na co nam pozwalają.

We are not authors but retellers - anti-individuals. (Structuralism was French)

New Criticism - Anglo - American

Strictly connected to historical development - English lit. started to be taught at universities (at the end of 19^th century, the reason why new criticism appeared)

They didn’t even want to create New - criticism. The term was invented later

Frank Leavis - one of the most famous critic. Leavis- style: fan of F.L

The text was self-contained. You don’t need to know anything about the author, etc.

You study the text.

Literature is timeless, it can speak to us any time, no matter what circumstances.

Literature is related only to literature, art to art, etc.

Tradition and the system they were analyzing was the best, great literature.

Other, considered no use, it was a waste of time. (How do you know if this book is great and that one not ?)

Essay by Beardsley and Wimsatt. Things against common sense.

Intentional Falacy (about the author) - Intentions of the author were not important.

By communicating with others every day, we are giving intentions.

Intentions are misleading. Great art goes beyond intentions, out of control.

T.S Elliot - “Traditions and the individual pages”. Writer’s relation not to the history, family, but other artists. To appreciate the literature you need to study it. If you want to make art, you have to appreciate the effort.

The great artist exceeds his mentality. He is able to transform words, emotions to create something great. Anti - romantic. The artist does not express himself but something more and greater. This is a mismatch between writer’s personality and what they created. Everything goes against common sense.

A great artist isn’t expressing himself. Writing is intellectual work, not inspiration

Affective fallacy: about the addressee, spectation receiver, their feeling after they read or saw art. That is unnecessary, because we don’t talk about the piece of art, but aour own feelings.

The heresy of the paraphrase: Paraphrasing a poem means destroying it. Every change of form is a change of the meaning, CONTENT. Interpretation of literature is also an act of ruining.

Work should exceed the time We only pay attention to the great works. Closed system, but only of great works of art.

• Internal evidence: details inside, the language, the words that are used

• External evidence: what the artist says about his work of art, how we perceive it

• Contextual evidence: the artist writes a sonnet to comment on the picture he painted, or the other way around. Pro-rafaelici (?).

Artysta to rzemieślnik ≠ romanticism - to be an artist you have to be special. Language is using us.

Implied author - We create a vision of the author, but it doesn’t relate to the real author. It stands in of the text.

Implied reader - when you write you have in mind your potential reader. Inside

(Emotive function - you reveal your emotions in your speech) normal for everyday communication.

Emotions of the reader ≠ emotions of the author.

PSYCHONALYSIS - Development of psychiatry (Freud for example) Psychoanalysis was something completely new, completely new branch. It was not a literary movement. Jung, Freud. Literature was not their major occupations, but other scholars came and decided that they might be useful. Freud stole the show with his Edyp’s complex. There is no way to verify if it’s true. Nie można przeprowadzić eksperymentu.

Human beings at the first stage of life does not know identity. It can’t see that it is different from others.

Projection - area around us, private things, we perceive as part of us, our body. We project our feelings on environment.

Elliot used in his poems words which caused anxiety.

We know that a character is in love, because of the description of her emotions, though they are not clearly named.

Biorę zdanie: od razu widzę opinię o postaci.

Independent - good opinion. Old spin ser - Bad opinion.

“she arranged for a trip” = she is rich. We get it from the text, not direct info. Los mu wyłazi z nieświadomości.

Early stage - no borders between you and the world

Edyp’s complex - we start to recognize, distinguish.

ID	EGO	SUPEREGO
Basic need, drives, intuition , e.g. hunger going to the toilet. World as the source of pleasure. Safety	Mediate Voice of reason, common sense	It tells us how to behave properly, obey laws.

Beginning of the morality.

ID - we can’t control it. Beyond control. Superego tries to control it. Every need is some sort of energy.

Sublimation - Nierealizowane potrzeby to sztuka it is unconscious.

Art is precisely an expression of author’s needs, emotions, intentions. We need to look at the author’s mind.

Scientific approach, art is symptomatic - Symptoms.

The unconscious - created by the repression. Nieświadomość tworzy się w momencie wyparcia.

Projekcja - swoje wady projektujemy na innych.

The unconscious can reveal itself Orly In DREAMS(przejęzyczenia też).

“Games people play” “w co grają ludzie”

JUNG

1. Disagreement with Freud to some extent

   The COLLECTIVE UNCONCIOUS - świadomość zbiorowa

   There are some unconscious concepts that we share, it transcendent time, space etc.

Analyzed the dreams of Afro - Americans - picture of ancient Greece, etc.

A young Swiss woman felt like she had a snake in the stomach It comes from Hindu Mythology.

Jung’s concepts were confirmed by structuralists to some extent. Apart from our individual unconscious, we have deeply - rooted collective unconscious, it takes a shape of archetypes, pictures, ideas

As long as we know what sth means it is A SIGN.

Symbolic & semiotic meanings are sth completely different. SIGN IS EXPLAINED, AND WE KNOW WHAT IT MEANS !

Sth puzzling, strange but we can translate it

Symbol przemiany - nie do wytłumaczenia, zrozumienia. That’s the symbol. It affects us but we can’t translate, explain it.

Semiotic is connected to our experience , if we can relat to it is a sign.

Typy twórczości

1. Psychologiczny typ - Psychological type - semiotic a product of consciousness

2. Wizjonerski - Visionary - symbolic, a product of unconsciousness, in great works comes from collective.

1. Rodzaj psychologiczny ma za temat życie człowieka, namiętności, etc, przeżycia. We know the situation described, we can imagine it, we emphasize with Other ppl’s feelings through EMPATHY we live through what the characters live through.

2. We cannot translate it into anything conscious. Jakbyśmy mieli dostęp do nieświadomości to byłaby to świadomość. Przeżycie jest obce. Relate to collective unconscious. Even explanation is inexplicable. Connection to T. S. Elliot. Emotions come from the outside. We cannot go into unconsciousness, it would kill us, our unconsciousness protects us. Bóg nie mógł się pokazać Mojżeszowi, bo to by Mojżesza zabiło.

GREAT ARTIST - They have the Power to go to the unconscious and to return.

FREUD - Scientific approach, cause, reason.

You have a work of art, look for the reason in authors time.

Jung great work needs great energy, so the artist has nothing left for real life.

Psychic energy. Artists can use it so much. Energia nie zostaje. Całkiem na odwrót niż Freud. Artysta ma także zaburzenia, ba za dużo energii wkładał w swoje prace.

If you don’t understand something, try to find something similar In Other Works.

DOES IT MAKE IMPRESSION ON ME !!!!!!!!!!!?????